By Booth Moore
Los Angeles Times Fashion Critic
September 29, 2013, 10:03 a.m.
From the look of the craftsy, unfinished-wood runway set, and meandering rows of brightly colored metal stools, it looked as if we were about to sit down to art class at the Celine show Sunday afternoon. Instead, designer Phoebe Philo showed one of the strongest collections of the season, touching on several ideas that have been in the air (including art inspiration, urban sportswear, even pleated skirts).
The inspiration: Art in the streets. Placed on each seat was a booklet of images of graffiti taken by French photographer Brassai, and excerpted from the book "Pour L'Amour de Paris."
The look: High impact but with a purity and simplicity of design that's inherent to the brand. Bold, painterly strokes of primary color, shiny geometric accents and a new silhouette consisting of an elongated top over a pleated below-the-knee skirt.
Key pieces: Elongated black-and-white swirl print tank top over red brushstroke print pleated skirt. Oversized red-and-black swirl print tee over asymmetrical black-and-white micro-stripe skirt. Black tank dress with mesh skirt. Bold striped knits. Asymmetrical black skirt with low-slung O-ring belt. Black leather tank dress with brushed metal ring detail at the shoulder. Sculpted, hourglass-shaped black blazer over long white T-shirt, and white, micro-pleat skirt. Handbags resembling squished cubes, with shiny square hardware handles. Colorful, Vans-like, woven sneaker booties. Sling backs and mules balanced atop shiny metal orb or cylinder-shaped heels. Paint stroke-like jewelry.
The verdict: Evidence why Philo is one of the few true leaders in fashion today. This collection was not only a wildly creative visual statement, it was a direction forward — a new way to wear color and print.
By CATHY HORYN
In his July haute couture show, Mr. Simons included dresses and jewelry inspired by African motifs and colors. They were a small but distinctive part of a collection aimed at reflecting global style. If Mr. Simons was subtle in his approach, Ms. Philo used a magnifying glass in her Céline collection.
Céline, spring 2014.
Valerio Mezzanotti for The New York Times
Céline, spring 2014.
Those African motifs were now fat squiggles of color (yellow, blue, red, and green mixed with black) on tunics and masculine shirts. The jewelry became big and loopy, and sometimes cagily evoked John Chamberlain’s crushed metal sculptures.
It was a clever show, in more ways than one. Ms. Philo knows how to pile on the eye candy and get everyone worked up. There were the new pillow-shaped leather clutch bags with a silver-rimmed porthole opening; the sculptural metal heels on shoes, relating to contemporary art (and a cobbler’s nightmare); the reworking of some of her earlier fabrics, like enlarged black netting for mid-calf skirts, and a very smart continuation of her fall proportions. Oh, and there were splashy prints on what vaguely looked like a faded newsprint background. It was a lot to absorb, and that seemed the idea.
The appealing part of this collection was the notion of long, slim tunic over a flared, below-the-the knee skirt — be it A-line or pleated with an asymmetrical hemline. It’s easy. And one of the best examples (anyway, the least overwrought) was a tank top in what looked like navy linen with a matching skirt and a green plaid undershirt that seemed based on a Canal Street plastic shopper.
But then this collection was a mixed bag: strong on those sculptural accessories and Ms. Philo’s unmatched sense of élan, but also highly fragmented and, in terms of shapes, a bit clunky.
By SUZY MENKES
PARIS — Slaps of primary colors like tribal brushwork, big, bold, bright tunics and skirts wild with fringe — Céline’s show on Sunday electrified the summer 2014 Paris collections.
How could the designer of sleek clothes for the modern woman have turned into the artist of wild and almost tribal gestures, yet still seem to give women grace and dignity?
“It’s about power and women,” said Phoebe Philo backstage as she greeted her husband and children wearing plain black.
But her heart was with Brassaï, the pseudonym of Gyula Halasz, the Transylvanian photographer of the 1920s who was part of the Parisian avant-garde art movement. More specifically, Ms. Philo had turned to the artist’s recording of Parisian graffiti.
It furnished her with slashing, painterly strokes that might have been from Africa, with the red, blue and green primary colors and Soul II Soul music, including the hit “Back to Life,” from 1989. It was a neat metaphor for Ms. Philo’s energizing of a dull Paris season.
Any designer can look at an art book, but it is an exceptional skill to absorb it into your own aesthetic. Ms. Philo hit every nerve that this season’s fashion touches: primarily pleats, which are used in new ways, set at an angle as well as rule straight. Then there is the fringe, which swung from the Céline bags without making them seem ethnic, and which finished off the mid-calf hems.
It was a head-to-toe tour de force. And those who have been wondering how minimalism would make its march forward in fashion, now have the answer.
The full video is up on celine.com
The soundtrack is fabulous. I still think the collection is really interesting. But two things became very clear to me during the video - 1. the shoes were truly, truly hideous and terribly unflattering. 2. The cast did absolutely NO justice to the collection whatsoever. I guess I'm just personally really tired of models who look like scared young girls instead of confident women. It's distracting and not particularly elegant.
I can't find the video. Can you tell me what you found it under on their site? It seems really hidden IMO...